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In:Form Miming Meaning
Edited by Max Nänny and Olga Fischer
[Iconicity in Language and Literature 1] 1999
► pp. v–viii

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Published online: 15 March 1999
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https://doi.org/10.1075/ill.1.toc

Table of contents

Prefaceix
Acknowledgementsxi
List of contributorsxiii
Introduction: Iconicity as a Creative Force in Language Usexv
Part I. General
Why Iconicity?3
Action, Speech, and Grammar: The Sublimation Trajectory37
Creating the World in Our Image: A New Theory of Love of Symmetry and Iconicist Desire59
On Semiotic Interplay: Forms of Creative Interaction Between Iconicity and Indexicality in Twentieth-Century Literature83
Iconicity in Literature: Eighteenth- and Nineteenth-Century Prose Writing109
Part II. Sound and Rhythm
What, if Anything, is Phonological Iconicity?123
Imagination by Ideophones135
Iconicity and Beyond in “Lullaby for Jumbo”: Semiotic Functions for Poetic Rhythm155
Part III. Letters, Typography and Graphic Design
Alphabetic Letters as Icons in Literary Texts173
‘singing is silence’: Being and Nothing in the Visual Poetry of E.E. Cummings199
Iconicity and Divine Likeness: George Herbert’s “Coloss. 3.3”215
Iconic Rendering of Motion and Process in the Poetry of William Carlos Willams235
Graphological Iconicity in Print Advertising: A Typology251
Iconicity in the Digital World: An Opportunity to Create a Personal Image?285
Part IV. Word-Formation
Diagrammatic Iconicity in Word-Formation307
Iconicity in Brand Names325
Part V. Syntax and Discourse
On the Role Played by Iconicity in Grammaticalisation Processes345
Iconicity, Typology and Cognition375
The Iconic Use of Syntax in British and American Fiction393
Linguistic Expression of Perceptual Relationships: Iconicity as a Principle of Text Organization (A Case Study)409
Author index423
Subject index433
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